Poetry and Prose in the Arts (I)

Extract

I Shall begin by a distinction which will limit my subject. I propose to speak only of beautiful poetry and beautiful prose, or if the phrase be preferred, artistic poetry and prose. The distinction I wish to draw is between art and craft, between making a competent and useful thing which exactly fits its purpose and making it beautifully, between technical skill and artistry, between good workmanship and design and that touch of rareness which makes not merely good but fine and lovely. The boundaries are difficult to draw. For much craft is also beautiful, and the craftsman is always in doing his best, striving to be an artist and often succeeding. But they are not the same things. Mere technical skill will not make a work beautiful but only correct, and on the other hand art may possess beauty, even if not of the highest order; though it fails in skill, the conception in some degree makes up for the defect of skill, as for instance much primitive Italian painting or Greek sculpture, which is defective in drawing or modelling and yet beautiful. Now a large part, perhaps the greater part, of what is called art is not art at all, but craft, good correct painting or drawing or sculpture; pleasing, but not pleasing with the pleasure or even rapture which beauty gives. It is so with prose and poetry. Many poems are not poetry, though written in impeccable verse, and long poems are always apt to drop in places into what is only not called prose because it is metrical. By far the greatest part of prose is merely good workmanlike writing, and in no sense art. I am not intending to depreciate craft, and still less the value and difficulty of attaining it.